Bokeh Versions light up a necessary reissue of Tradition’s long-lost outer-dub oddity Captain Ganja and The Space Patrol, pressing up a damn fine and deeply psychedelic reminder of North London’s contribution to the worldwide dub sphere c. 1980 - years before Scientist and Jammy battled the space invaders.
As a secretive and sought-after outlier in Tradition’s catalogue of lovers rock and dub aces, Captain Ganja and The Space Patrol represents the group’s most esoteric and experimental urges in full effect, springing dub’s mutable framework with a sample bank of crying babies, radiophonics and library soundtrack FX and then swirling the whole thing in Paul Thomson’s cosmic synths and keys.
From the red-eyed bachelor lounge vibes of of The Breathtaking Blast thru the lush recoil and tumble of Subaquatic Swerves and the pealing oddness of The Creepy Crawl to the bawling infants perfused around Rocket Repairs’ warbly melodica and decaying drums, it’s clear to hear how this album provides perfect context for Bokeh Versions’ previous releases, from the loose schematics of Seekersinterntional to the plasmic plong of Jay Glass Dubs, and even the label’s colourfully warped charisma on the whole.
It’s totally primed for a long, hot summer…
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Living Chicago house legend Steve Poindexter and Swiss newcomer Xzavier Stone give sharply contrasting spins on Martyn Bootyspoon’s deviant future funk session for Fractal Fantasy.
The weightless ballroom dynamics of Spread The Kat are retooled as a slamming ghetto jack track by Poindexter, who clearly has no time for Bootyspoon’s more playful characteristics, resulting something that’s only 50bpm shy of Monta Musica.
Meanwhile Xzavier Stone helms a bit closer to the original Steam, craftily resetting it with fluoro synth leads and a wildly processed and chopped-up vocal for peak time pressure.
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Killer set of exclusive tracks from Pye Corner Audio, Silent Servant and Not Waving for a faultless dancefloor session prizing one peach per artist on a limited plate. DJs and dancers can trust they are in very safe hands with deadly material supplied by all three operators...
Catching each producer at the apex of their respective games, they demonstrate the difference between original forms and their idiosyncratic, modern antecedents in alternately optimised and augmented distillations of EBM, acid, and techno, using finely honed instincts to parse the best bits from each style and leave the rest to rot.
Not Waving sets the example with a twanging and typically irregular disarrangement of EBM robo-funk, railing a lean and potent stripe of clambering machine pulses and barely-harnessed arpeggios with fragments of anti-racism activist Jane Elliot that lend it a recontextualised, determined impetus.
Martin Jenkins aka The Head Technician aka Pye Corner Audio follows with a slowly tempered, supple piece of analogue magick, coaxing out a sublime twine of helical basslines and a soaring top line of the rarest kind, one completely destined to trigger stunned and loved-up reactions in the right situations.
Silent Servant’s impeccable B-side tallies his first release of original material in 2017 with a sleek signature turn of fine-tuned 5/4 techno powered by nagging EBM bass and spaced out within a morphing sound sphere, with intercepted narrator who becomes fully revealed into the dramatic climax.
Heavyweight. essential gear.
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Rescued from defunct formats, prised from dark cupboards and brought to light after two decades in cold storage…
"OKNOTOK features the original OK COMPUTER twelve track album, eight B-sides, and the Radiohead completist’s dream: “I Promise,” “Lift,” and “Man Of War.” The original studio recordings of these three previously unreleased and long sought after OK COMPUTER era tracks finally receive their first official issue on OKNOTOK.
All material on OKNOTOK is newly remastered from the original analogue tapes."
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One of Belgium’s premier sound artist/designers shapes up the remarkable Bleak Comfort as his 3rd solo album, and first with discerning Parisian label Latency, who’ve previously proffered aces by Bellows, Robert Aiki Aubrey Lowe, Nuel, Madteo a.o.
In Bleak Comfort, as the title suggests, De Mey takes solace from aesthetic. It locates the arch sound explorer pushing his interdimensional electro-acoustic praxis in probing new ways, finer entangling their putative dichotomy of dynamics to an indistinguishable, light and space-bending blend of immersive viscosity and visceral, psychedelic effect that leaves the listener heavily disoriented and quite possibly motion-sick.
In badder hands and to sicker minds that could mean some proper deviant dancefloor business, while to others it’s serious brainfood for your ears to masticate, or vice versa. Either way, it’s just highly impressive electronic music, spelling out an uncommon complexity of spatialized rhythm and geometric proprioception that makes each part of the set indivisible from the whole, yet strongly applicable as dancefloor melters, as with the post-techno spine curvature of Stale, the sloshing Autechrian steps of Wearing Off, or the morphing electrollcages of Vecto and Bleak Comfort.
RIYL Autechre, Cam Deas, Dalglish.
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Tia Maria Produções member DJ Lycox goes solo in a big way with debut album Sonhos & Pesadelos for the resoundingly influential Príncipe label.
With the delicious swerve and layered lushness of Sonhos & Pesadelos, the debut album by Príncipe’s Parisian ambassador DJ Lycox, sets a new high water mark for the label and its collective sound.
Indulging a bank of fleshly synths more than many of his label mates and peers, but at no sacrifice to his rhythmic push and pull, the sound is practically compatible with deep house and UKF as much as the frenetic styles of Nidia Minaj or the tuffness of DJ Marfox, for example.
Across all 12 tracks he modulates the vibe with expert groove control, oscillating between hypnotic future folk lixx and infectiously knotted drums in Weekend to a debonaire spin on deep house swagger with Domingo Abeçoado or Solteiro, skipping from the blazing tropical heat of Virgin Island and Paragons Moh Baba to something you could almost imagine Marcus Nasty playing on Nichako, Sky or the steely reinforcement of La Java.
But if you’re looking for out ’n out raving madness, you’d best check the blinding shockout Quarteto Fantástico and the searing hard-style leads of Ferrero for the most upfront bangers.
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Rhythm and Sound freaks, take note - this album contains the original Chosen Brothers / Prince Douglas version of “March Down Babylon” - one of the heaveiest dubs ever made...
Engineer Douglas Levy was part of the original Wackies set up from 1974-75, alongside Lloyd Barnes and Jah Upton. For a while he would have his own label - Hamma - within the Bullwackies group; but besides Sugar’s International Herb, this 1980 dub album is his finest work. Wackies’ fans have been clamouring for its reissue ever since Rhythm & Sound began making the catalogue available again. Many of the rhythms are derived from a tape given to the studio by Sly and Robbie, containing their versions of recent Joe Gibbs hits. And there are brilliant treatments of Tribesman Dub - the rhythm for Tyrone Evans’ Black Like Me - and Wayne Jarrett’s definitive interpretation of Every Tongue Shall Tell.
Elsewhere Jah Batta takes deejay duties - likewise Prince Douglas himself. But the deadliest cut of all reworks another gift, Steel Pulse’s “Handsworth Revolution”, which arrived in a parcel of records from England the same weekend as the session: March Down Babylon Dub, with Bullwackie himself at the microphone in his Chosen Brothers guise, as steely and apocalyptic as Douglas Levy’s fabulous production.
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Sharply contoured, inventive electro mutations from Maelstrom, a french producer with previous form for Veronica Vasicka’s Cititrax, BNR, and Zone.
Again, CPU get the best out of their guy here, turning up some strong highlights with his fresh spin on Braindance tunings and ghettofunk pneumatics in the exquisite Lost Echoes, some filigree acid pirouettes on ALPH4, and pure electro/techno pressure on VZNIETIT and Praxis.
DJs, dancers - it’s yours.
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Anthony J Hart (Imaginary Forces, Basic Rhythm) adopts the Hi Tek moniker as producer for East Man’s Red, White & Zero; a grime/dancehall/ project inspired by London’s vital relationship between mixed, working class cultures, inspired by conversations with theorist and academic Paul Gilroy - alumni of the late, great Stuart Hall. Features bars by Saint P, Darkos Strife, Killa P, Eklipse, Lyrical Strally, Kwan. RIYL The Bug, Blackdown, Alex Deamonds.
“London’s young people have been seen as a problem by governments for many generations now. Their distinctive street cultures stretch back into the nineteenth century when, just like today, a stylish public presence signified danger to respectable people. At that time, Britain’s class conflicts were being re-made amidst all the glorious fruits of a global empire. Divisions like class and sex had different shapes and tempos that hardly resemble the machinery of our increasingly networked and unequal world. Religion, racism and nationalism were all important, but work, exploitation and poverty supplied the fiery core of politricks.
These days, Britain’s imperial wealth and prestige are long gone. Today’s young people are excluded and marginalized, confined and criminalized, yet they remain at the heart of the vital, energetic best of our city. Their energy and imagination drive London’s convivial culture. They duck and dive just like their predecessors. They hustle, they suffer and they survive. Even where knives are common, most of the problems that come up get resolved without murderous violence. The defining experience of their precarious situation is more likely to be fear or anxiety than warfare between gangs. Their violence is more likely to turn inwards on to their loved ones and family members. There are many forms of self harm and self medication.
Yet the space in which those youthful lives unfold has contracted. The scale on which life is lived has shrunk. Moving around can be expensive. Surveillance is constant. Dignity and certainty are difficult to find and hold on to. It can be hard to feel comfortable outside the spaces and places you know best. Those familiar circuits are marked out by the roadside shrines of dead flowers that show just how vulnerable you can quickly become.
We have been losing London to Babylon but we are busy making a new place. The edges of the city have become fertile. The weeds grow up explosively between palisaded concrete boxes and the litter-strewn greenery. This is not zones 1 and 2 where houses and flats are capital rather than buildings to live in. The music that comes out of that edgy world isn’t what it was a generation ago, but it’s still fundamental--necessary for life.
These shocking sounds can be a part of healing and repair while staying faithful to the pressures that forged them. Musicians can’t make a living from their creativity, but their listeners can’t understand this historical moment unless they get to grips with its local rules, meanings and poetry. This is not America. Even without words, this music speaks for itself and tells a story. It calls out to be understood while seeking ways to escape interpretation.
We are always more than either this or that. We are more than either black or white."
Paul Gilroy 2017.
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Tetine’s Bruno Verner revives Slum Dunk with a set of Film Tapes 1991 - 1995, written in São Paulo a long time before he was making mutant baile funk for Soul Jazz. Shares something of a strange, other or 4th worldly nature with experimental material written by Mitar Subotić aka Rex Ilusivii and recently issued by Offen Music, or even playful elements of that ace ‘Jan Zonder Vrees’ OST on STROOM 〰
“Film Tapes [1991-1995] is a collection of eight experimental pieces composed for film and video works. Written by Bruno Verner of Brazilian duo Tetine as he lived in São Paulo in the early 1990, these pieces were produced in an old four-channel Tascan tape-recorder in an improvised home studio, set in the living room of flat-share in downtown São Paulo.
Extracted from cassete tapes, these tracks were inspired by the humid climate and the concrete dystopian architecture of São Paulo's city centre. They are mostly tense, discordant and melodic (ambient) soundscapes, developed around rhythm & repetition structures and building orchestral and epic sonorities in conjunction with impressionistic, chromatic and atonal motives.
These pieces were also autobiographical impressions of the city's social architecture and its space (and time). In other words, an attempt to sonically 'translate' its viaducts and overpasses, street vendors, register offices, sex saunas, bars and clubs, bus terminals, modernist buildings, parks and old departments stores. This is made by a combination of electronics, cello, trumpets, saxophones, piano, flute and organ.”
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Four track EP made up of new songs ‘Keep It Surreal’, ‘Cold Water People’ and apocalyptic closer ‘Catch You Dreaming’.
"A defiantly reflective, blissed out, yet wistful six minute zero gravity swirl, the track showcases yet another side to the reborn and rejuvenated Ride, who last Summer returned with their first new music in twenty years.
Catch You Dreaming’ was originally written during the ‘Weather Diaries’ sessions in Autumn 2016, and sees the continuation of their working relationship with Moulder and Alkan, the same combination who helped shape their richly layered and multi-faceted comeback album."
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Onra secretes his 6th LP on Dublin’s All City with Nobody Has To Know, blushing 13 tracks of romantic soul and R&B downstrokes straddling classic ’80s and ’90s vibes with up-to-the-second production. Furtively tucking the vibe away for the lovers, the Parisian producer licks choice samples into slick original arrangements of sticky boogie bass and snares drenched in gated reverb, all chain compressed for that pendulous pressure and a lip-biting sense of tension and release.
“On “Nobody Has To Know”, his fifth album for All City Records, the versatile French producer created music that reflects on the various aspects of a secret relationship pulling from R&B,New Jack Swing and Funk to soundtrack the passions of attraction.
Stylistically “Nobody Has To Know” picks up from the Future Funk style Onra originated on his 2010's “Long Distance” (and its 2012 companion EP “Deep In The Night” for Fool's Gold). Where those two releases mined the early and mid parts of the 1980s for ideas and references, the new album digs into late '80s and early '90s jams for smoother and richer sounds. Bolstering the record are two talented multi-instrumentalists, New Zealand's Lewis McCallum and Belgium's Pomrad, who bring touches of virtuosity to Onra's trademark smooth arrangements. The result is a record that, like its theme, oscillates between tender, torrid and tumultuous.
Over its 13 tracks “Nobody Has To Know” details the ups and downs of a secret relationship, from the excitement of doing something forbidden to the aftermath of living out fantasies. On "Let Me Fantasize" a rolling bassline and sparkling melodies capture the excitement of what is possible, the mind wandering into the forbidden. "No Question" taps into New Jack Swing to act out desires that can't be suppressed, exuberant solos echoing dangerous feelings. With its hard drums and smooth horn solos, and chorus of "Freak" takes you to that place where you can do things you only dreamed about. Balancing this intensity are more introspective moments. "Not Long Ago" rolls out gentle synth solos and nostalgic samples to reflect on past relationships and the very human desire to have what you had or can no longer reach. Rich textures and a languid rhythm underpin the reflective mood of "Nothing To Lose," as you wonder what could go wrong – it's a fine line after all.
The fantasizing, excitement and danger of fatal attraction are all reflected through the prism of the music. With “Nobody Has To Know” Onra deftly evolves the style he first began to explore a decade ago with his unique touch, re-affirming a unique sound rooted in warmth and setting the mood for some late-night escapades.”
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Obscure, sought-after French free jazz session led by François Tusque. Make sure to check the brooding title track for a dark, blue and funk-dusted hustle
“10 December 1974. 200 conscripts exit the casern of Draguignan in order to demonstrate in the streets of the city. They make part of those clandestine soldier committees multiplying themselves all over France with a view to unite the young activists of the extreme left with the anti-militarists. This dispute is a backwash of the student manifestations in spring 1973 against the Debré law reforming the military service.
The "Collectif du Temps des Cerises" founded by François Tusques, one of the pioneers of the French free jazz, decides to support the insubordinates. Denis Levaillant, 22 years old at the time, becomes the driving force of this discographical project. It’s with another big name in jazz, Jef Gilson in his studio Palm, the group records the compositions of Levaillant, appearing under the pseudonym Serge Igor, as well as cover versions of traditional Spanish music, among others the mythic "El paso del Ebro".
The young French jazz avantgarde scene of the early 70s participates in that session which brings together musicians like Jean-Jacques Avenel, Pierre Rigaud, Jean Méreu, Antoine Cuvelier, Gérard Tamestit, Guy Oulchen, Christian Ville, Robert Lucien, Carlos Andréou et Kirjuhel. The graphic designer collective Atarpop 73 creates the sleeve of the album which was released in an edition of 3000 copies and sold during the student manifestations.
This radical report of a rebellious youth raising from the still glowing ashes of May 1968 brings to our ears a jazz as spiritual as revolutionary. Attention, disc is burning!”
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Will Toledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations.
"Listen to his first attempt, recorded at nineteen on a cheap laptop and you’ll hear what Brian Eno fondly calls “the sound of failure” - thrilling, extraordinary and singularly compelling failure. Will’s first love, rendered in the vivid teenage viscera of stolen gin, bruised shins and weird sex, was an event too momentous for the medium assigned to record it.
On the heels of the smashing success of ‘Teens Of Denial’, Car Seat Headrest release a new version of ‘Twin Fantasy’. “It was never a finished work,” Will says, “and it wasn’t until last year that I figured out how to finish it.” He has, now, the benefit of a bigger budget, a full band in fine form and endless time to tinker. According to him, it took eight months of mixing just to get the drums right. However, this is no shallow second take, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound.
It’s been hard, stepping into the shoes of his teenage self, walking back to painful places. There are lyrics he wouldn’t write again, an especially sad song he regards as an albatrossbut as he carries the weight of that younger, wounded Will, he moves forward. He grows. He revises, gently, the songs we love so much. In the album’s final moments, in those apologies to future me and yous, there is more forgiveness than fury.
This, Will says, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy."
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Third in an EP trilogy that will culminate with a compilation CD and a limited edition vinyl box set containing all three EPs
"Harkening back to their 1997 release of three consecutive EPs (Dog On Wheels, Lazy Line Painter Jane, and 3.. 6.. 9 Seconds Of Light), Belle and Sebastian will release three new EPs under the umbrella title How To Solve Our Human Problems.
To celebrate this announcement, Belle and Sebastian has revealed a new song titled ‘I’ll Be Your Pilot’, which can be found on EP2 and heard HERE. The single encapsulates the essence of the groups gentle attention to melody, and takes as its subject Stuart Murdoch’s young son: “Having your first kid is a huge event, so I wrapped a lot of things I felt about Denny into the song. Being a dad made me feel a little like the pilot in The Little Prince, hence all the references to the Sahara!”
Just as those three early EPs are at the very heart of the Belle and Sebastian canon, so these three new releases deserve to be treated not as a stopgap, but as definitive releases in their own right. How To Solve Our Human Problems is both an era of its own, and part of a long, rich history. How To Solve Our Human Problems is, if you like, Belle and Sebastian Redux."
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Your eyes do not deceive you! Ten years since leaving us all hanging with Two/Three, Tadd Mullinx a.k.a. Dabrye gives up Three/Three, loaded with guest spots from Guilty Simpson, Doom, Ghostface Killah, Jon Wayne, Shigeto, and many mo.
As one of the original architects of the instrumental “beat scene” which emerged from late ‘90s hip hop and morphed into more electronic-based structures during the ’00s, Dabrye forged a rugged, warped new sound which would predate the lurch of half-time dubstep and influence a stack of producers such as Hud Mo and Machinedrum who’ve become key, influential producers in their own right in the years since.
After leaving the Dabrye alias c. Two/Three in 2006 to focus on his JTC and Charels Manier aliases - which, in their own way, also triggered or predated sea changes in the wider dance/electronic scenes - Tadd Mullinx picks up like he never left us with Three/Three, reprising a natty, wonky style that pretty much ignores contemporary trap/drill trends in favour of super bass-heavy and psychedelically detailed productions that match the classic steez of his vocalists.
From first listens we’re most impressed by the woozy nudge of Dr. Shroomen feat G&D, and it’s hard not to get snagged on Doom’s hooks in Lil Mufukuz, definitely Ghostface Killah’s delivery on Emancipated, which sounds like a sharp update of some Dilla/Raymond Scott flex, and easily The Appetite feat. Roc Marciano, Quelle Chris & Danny Brown on some Clipse meets Kraftwerk vibe.
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Giuseppe Leonardi pursues the heat-stroked balearic vibes of his jack Of All Trades 12” into this one for Second Circle
Resulting some devilishly debonaire Afro-synth-boogie on Unsinn, an oily downstroke into Giallo-esque soundtrack music with Kannibalentanz, and two strokes of pure sensual synth élan with Every Tree And Creature and All Blue.
File in your adult contemporary after-hours section.
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We’ve never come across a music fiend who doesn’t swoon hard for vintage Ethiopian music when at its best. Ernesto Chahoud’s ‘Taitu’ compilation of “soul-fuelled stompers” is all killer-no filler, an unmissable introduction this special sound, or a further education for anyone already snagged on Mulatu Astatke, Tilahun Gessesse or those classic Ethiopiques sets. Grooves to own your booty, and vocals that send shivers down the spine
“Ernesto Chahoud’s ‘Taitu’ is a collection of soul-fuelled stompers straight from the dancefloors of 1970s Addis Ababa. A breathless journey through the unique Ethio sound that bands were forging at the time, the 24-track compilation is the result of the Lebanese DJ and crate digger’s decade long love affair with the ‘golden age’ of Ethiopian music.
Among the musical gems featured are 7"s by some of the heavyweights of the scene including the godfather of Ethio jazz Mulatu Astatke and Alemayehu Eshete, the vocalist dubbed the ‘Ethiopian Elvis’, alongside tracks by more obscure artists such as Merawi Yohannis and Birkineh Wurga.
For ‘Taitu’, Chahoud has selected 24 of his essential Ethio-Soul 7"s, that never leave his DJ box, and together they capture this opportune moment in Ethiopian music history that saw bands experiment with an armful of influences: gliding through R&B, rock & roll, jazz, funk, soul and boogaloo. What came out was a distinctly Ethiopian interpretation: pentatonic scales, horn-driven melodies and soul-shattering vocals sung in Amharic.
The songs are difficult to box in to one genre but they share a simplicity and rawness, added to by their lo-fi quality – with many recordings made in rudimentary studios with only a couple of mics for the entire band.
From the R&B stomper ‘Honey Baby’ by Alemayehu Eshete to Astatke’s swaggering ethnic-jazz instrumental ‘Emnete’ and the bluesy melancholic vocals of Hirut Bekele on ‘Ewnetegna Feker’, ‘Taitu’ is a window in on the exciting records being made in Ethiopia in the 1970s.“
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Fast becoming UK music’s most unique entity, Mykl Jaxn and Elvin Brandhi’s improvised father-daughter schtick as Yeah You only gets freakier with each new release. Following two cultishly appreciated sides for Slip, they skid onto Luke Younger’s Alter with VHOD - one of the maddest avant pop records you’ll hear this year or the next.
Where their previous releases were eviscerating from start to finish, this time they adapt that strategy to more diverse ends, allowing more space, variation and even melody into their rickety matrix, resulting leaner, pointed potential in highlights such as the swaggering Autoimmune and the sharp metallic grind of If (newDom), while the second half of the album unexpectedly shifts into off-kilter ambient tones recalling a more feral Klein production in the likes of Remove In Line and the glithcing loops of suppress not root warning, before totally slipping down the wormhole in W/N/A Return False.
These guys simply make everyone else seem like preening, over-earnest snobs by comparison to the loose, noisy construction and immediate impact of their music. It’s maybe not for everyone, but if the idea of a seething young British female answer to MC Sensational making atonal punk noise rap with her dad gets you going, VHOD is an unmissable listen.
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He may be a bit young for a Greatest Hits set, but that ain’t stopping Night Slugs, who’ve pulled together a stack of previously unreleased club constructions by USA’s Beau Thigpen a.k.a. DJ Vague a.k.a. Helix.
Built with dark, sweaty spaces clearly in mind, Helix’s Greatest Hits distill cues from a spectrum of modern club pressures into a forward moving and mutable style of his own, one as likely to encompass an industro-Funky flip of Tainted Love as take in hair-kissing synths on Techno Trak, and put a Linn snare on, well, frankly anything from grime mutations to ghetto house bullets such as Dick Track.
Heiße heiße!
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In advance of E Ruscha V’s Who Are You album, NYC's Beats In Space give up the title track reworked in collaboration with english pastoral ambient-pop type, Woo, who chimes in sweetly with the original’s gently melting vibe, while their dub reels and peals off in lysergic flutters.
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Roving electronic curveballs from Quicksails, including a mad remix romp from $hit & $hine!
“For the second installation of the limited catalogue GODCUTS, we are happy to present 5 original Quicksails' tracks with 3 remixes by Brett Naucke, Khaki Blazer and Austin favourite Shit&Shine.
Ben Billington aka Quicksails is a polyedric musician very active in the Chicago scene, with a stringful of releases on different labels, among them the mighty Mayville Dream on Spectrum Spools.
On side A he explores the world existing between electronic and acoustic, with very unique and interesting results, not actually comparable to other stuff we've already heard. Check the clips to listen to what we're talking about.
On side B his Spectrum Spools colleague Brett Naucke transforms My Moon in a cybernetic dream, while Khaki Blazer goes on a different direction, moving toward a 4-legs transgenic footwork.
Closing the ep is the remix version of Craig Clouse, who puts the original version in his special washing machine for a heavy laundry that gives you back everything way more dirty.”
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Giant Swan’s Robin Stewart goes dolo for No Corner with a longform greyscale drone piece plus one moist pocket of textured clag.
"Some lucky Bristolian listened to the whole thing and reported back: “Enter the room, the centre of everything, in the middle of nowhere.
Moving at an undistinguishable pace, it feels as though the master clockwork itself can be challenged by entering the perimeters of this sonic field, stretched out into the strangest of new worlds, one foot still here, the other pulling towards that alluring light beaming out behind the creaks of that heavy wooden door, which is moving in unexplained ways.
Those distant sirens enter through the cracks above the curtains, lighting up the room like a desperate flare shot from a boat that has not long departed. In fact, if you take a minute, you will realise that the whole room is shapeshifting increasingly with each cycle of sound, like a circus of mechanised organisms, or like a fairground at night, on standby with only the ghosts of human joy residing in this place.
Indistinguishable forms of reality and obscured imagination are forming a kind of play with the senses. It's hard to figure out what is creating this increasing, unstoppable momentum. Could it be the woozy, warm bass that is rumbling beneath the floorboards, whilst the open electric snakes it's way across the ceiling in blue & white shapes, leaving concise trails of dark, charcoal smoke falling weightlessly above us? And who is operating these mechanics that whir around us? Is it something to do with the voices from outside? It feels too late to leave, too soon to go.
Time and our judgement of the surroundings are becoming harder to track, who knows how many times this door has opened itself to us now, gradually exposing that blinding light which momentarily changes the shape of our space into something wholly new, unexplainable.
Just before the door falls back into the void, these sharp lights play a dance with the blackest of shadows, and all options present themselves with new vigour once more. This is the moment in which we realise that we needed this delirium all along, we had been searching for it… The sound of solitary bliss, the sound that only exists with you.”
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Houndstooth hearken back to the heady days of electro-Breaks c. 2005 with Lucid Interpretations of Second Storey by the old electro firm and assorted bass/techno folk.
Check for highlights in Or:la’s submerged hip hop take on Wherever You May Be and the stuttering heft of Marcel Dettmann’s positive remix for No Such Location.
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An abso-fxcking-lutely killer UKF banger from the original days finally sees official release via Goon Club Allstars.
As the story goes, KG was a 19 year old student at Nottingham Uni working with Fruity Loops back in 2007, around the time she made 808, which, despite her relative detachment from the UKF locus, became a staple of Marcus Nasty’s DJ sets, among others, who were lucky enough to own a copy of that precious file. It could be a figment of our imagination, but we’re pretty sure we remember hearing it crop up as one of dozens of unnamed but amazing tunes on radio during that era.
Fast forward 10 years and the virulent, Timbaland-gone-Funky pressure of 808 is primed for widespread dancefloor destruction along with a harder, stripped down rework from Bronx-based litefeet producer BSNYEA, and KG’s slinkier bubbler Midnight (Flute Riddim), which shows off a more sultry side to her sound, and also comes remixed by FDM king Hitmakerchinx on a rugged downstroke.
Unmissable dance music. You’ll be going off to this for years to come.
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Already marked as one to watch with The Tide That Moves Me EP for Gobstopper in 2017, New York-based Orlando pays up on that promise with the 1st song from his imminent début on Local Action.
Teasing in his Orlando album, the exquisite Friends or Lovers? features a naif, angelic vocal by Buscabulla - whose EP II is also worth a check! - set to a dreamy backdrop of sublimated flutes, fluid trance arpeggios and the slightest reggaeton bumps with weightless, skyward effect. This album could be so lush…
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Death Is Not The End turn their attention to Kosta Dousas on Greek Blues In America Vol. 2, following their excellent George Katsaros’ compilation. Again, as with most things Rembetika and Greek Blues-related, we’re transfixed by the mournful vocals and lyrical guitar lilt. Time to crack out the worry beads…
“Death Is Not The End present a two-part collection centred on two emigrant Greek artists recorded in New York during the 1920s and 1930s.
'Greek Blues in America' explores the recordings of George Katsaros and Kostas Dousas, who mainly recorded solo, accompanying themselves on guitar in a unique finger-picking style. This, along with the sub-cultural subject matter of the rebetiko, reflects somewhat of a cross-continental echo of the American blues - captured in the USA following a wave of immigration from Greece and Asia Minor, just as the new demand for regional and ethnographic music in the recording industry was beginning.”
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‘Last Night All My Dreams Came True’ is a career-spanning collection and features songs from each of Wild Beasts’ studio albums, with an emphasis on ‘Boy King’, their most direct record yet.
"Looking back on Wild Beasts’ back catalogue and the themes they tackled, there is a sense of prescience - toxic masculinity, gender fluidity, the conflicts surrounding class, politics and art were no bandwagon jumps, often becoming hot topics in the media several years after they’d been eloquently dealt with on record.
Recorded in two days over the Summer at RAK Studios, ‘Last Night All My Dreams Came True’ is the second official Domino Documents release and has more than fulfilled the Domino Documents aim to capture a band at the height of their powers, recording a selection of their finest songs."
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U.S. Girls is the protean musical enterprise of multi-disciplinary artist, Meg Remy, presenting her sixth studio album ‘In A Poem Unlimited’.
"Remy’s second release for 4AD, which also includes ‘Mad As Hell’ - a clarion call for pacifism - was tracked in collaboration with Toronto-based instrumental collective The Cosmic Range and features arrangements by long-time contributors Maxmilian Turnball and Louis Percival. The dizzying buffet of live grooves on ‘In A Poem Unlimited’ represents an inversion of the dusty, sample-based minimal textures of ‘Half Free’, Remy’s euphoric 4AD debut.
Steered into focus by Remy and mixer / co-producer Steve Chahley, ‘In A Poem Unlimited’ features disco employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); moody, slow-burning funk (‘Velvet 4 Sale’ and ‘L-Over’) and earnest synth anthems ‘Rosebud’ and ‘Poem’, which form the album’s emotional core.
‘In A Poem Unlimited’ features dark meditations reflecting charged atmospheres that directly precede and follow acts of violence. Many of the songs are character studies of women grappling with power; how to gain and exert it spiritually, as well as desperate strategies to mitigate its infliction. Remy also rallies against the public lies told by political and religious leaders and, more crucially, questions the lies we tell ourselves in order to survive. While U.S. Girls, denoting the plural, is no longer a misnomer, ‘In A Poem Unlimited’ may be Remy’s most individually distilled protest to date.
‘In A Poem Unlimited’ album opener ‘Velvet 4 Sale’ concerns a female narrator imploring another to buy a gun for protection, impressing that the only way to change men is for women to use violence. Remy says, “Men are lucky women (and children) have yet to take up arms. And although I hope this never happens and I completely disagree that violence is ever effective, this very idea was ripe for a song."
more

Expanded, definitive, 1st ever vinyl reissue of classic early ‘90s EBM album; the 2nd LP by Dirk Ivens in solo mode as Dive after leaving legendary Belgian EBM supergroup, The Klinik.
On Concrete Jungle, Ivens’ signature growled and unheimlich vocals carry over from The Klinik into this project, but don’t quite dominate proceedings as strongly as before, which is all good with us. Here, the vocals are tempered and more diverse, sometimes coming on in his classic vein, but also diffused and mixed deeper into the matrix of his hard-edged yet stoically funked-up productions, and sharing space with Wendy Van Dusen ov Neither/Neither World.
Additionally, the 2nd disc contains Dive’s handful of cover versions of Joy Division, Kraftwerk, Wire, Martin Rev, and Fad Gadget taken from Extended Play [1994], plus the cranky rarity Homeless from the Elektrauma compilation, and a grip of thistly winners that previously only appeared on the CD version of Dive’s First Album
RIYL. Silent Servant, Broken English Club, Helena Hauff
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Dubstep strongarm Pinch undertakes a dark and deadly mission for Loefah’s 81.
Walking With Shadows is a stripped down greyscale hulk of half step techno patterns arced with synths dialled in from late ‘90s D&B.
Better yet, AHH FFF SSS is one of those UK rave bombs that Pinch has built his career on, streaking evil rave stabs on a tense, stumbling, and distended techno/bass groove.
more

The Bunker NYC celebrate 15 Years of The Bunker with this compilation of 26 exclusive tracks by many artists who’ve previously released on their label, plus a handful of new names to the family.
Make sure to listen out for Ectomorph’s glitchy 2-step electro ace Snake Charmer, a sleek, rolling deep techno winner in Neel’s Sima, and the proper NYC acid jack of Function’s Norfolk Street Acid.
more

Glass offers the sublime results of a collaboration between Ryuichi Sakamoto and Carsten Nicolai (Alva Noto), as performed and recorded at Philip Johnson’s Glass House in Connecticut during the private opening to Yayoi Kusama’s installation marking the 110th anniversary of Johnson’s birth.
Making sterling use of the landmark architectural work’s pellucid dimensions, the pair fixed contact mics to its glass walls, which they effectively played as an “instrument”, rubbing it with rubber gong mallets to generate delicate tones which they combined with a sympathetic palette of singing glass bowls, crotales, keyboards and mixers.
The seamless performance of floating, weightless tones and exquisitely quivering timbres is without doubt one of their finest. For the duration we’re held static and spellbound by the pair’s interplay of microtonal shifts and plasmic chronics, keening the listener thru hazes of digital dust and vortices of angelic harmonics to locate, alchemise and resolve a rarified, deeply mysterious spirit before the piece closes.
As the follow-up to their OST for The Revenant [2015] and the warbling keys of Summvs [2011] before that, the achingly lush tension of Glass is perhaps the purest testament to the clarity of vision and endless minimalist mutability of this highly revered duo.
more

Danny L Harle takes the donk off it with endearing success in Blue Angel
Following inks with Carly Rae Jepson and Tkay Maidza to find a new vocal muse in Clairo, who lights up his airy 808s and chiming hooks like fireproof electric candles on the statement xmas tree in a municipal meeting place.
more

Dragan Lakic tests out a snarling sort of industrial techno sound for Power Vacuum after a string of straighter bangers for the likes of Planet Rhythm records.
Like Limewax or Current Value trying out techno for size, Oleka lunges for the jugular in all four parts, resulting a proper filthy bollocking in Ostentiferous, the skull-cracking bezerker Thereoid, and the dry wretch/hump of Hamartia.
more

Two beautiful expressions placing his own, queer slant on classic, timeless soul
In the low-key acoustic meditation Christopher & 6th, and the collaged sequence of street dialogue, hazy downbeats, and contemplative, half-spoken half-rapped lyrics in June 12th, which wouldn’t sound outta place on a Babyfather or Dean Blunt record.
more

Sometime in 2001 – sandwiched between the release of Ghost Tropic and its follow-up, the cryptic classic, Didn't It Rain – Songs: Ohia recorded an EP for Temporary Residence's distance-themed subscription series, Travels In Constants.
"The untitled EP consisted of a single 18-minute song – performed live by Jason Molina in his living room, recorded directly to 4-track cassette as the sounds of a typical Chicago night bled through the air. Built solely from an acoustic guitar and Molina's familiar melancholy croon, it's a hauntingly intimate track. Molina once remarked that it was "probably too out there" for a proper Songs: Ohia album, which is perhaps why is felt right at home in this context.
Scarcely available in its original CD-only edition of 1,000 copies, Travels In Constants has finally been remastered and reissued for vinyl and digital formats. Completing this reissue is "Howler," another unusually lengthy Songs: Ohia track that, like Travels In Constants, was recorded and released in 2001 in an edition of only 1,000. These tracks are amongst the most abstractly beautiful and alarmingly delicate music that Molina ever committed to tape. It's an honor to finally make it properly available for the world."
more

Full of cold, steely industrial techno riddled with machine spirits, the Protest EP from Berlin’s Kaltès & Nene H. is not for the casual techno observer, but rather offers a payload of stern girders for the club, reinforced by Christina Sealey (Orphx) and LAIR remixes.
In a push and pull of forces, Kaltès & Nene H.’s spine-stiffening bucker Resist contrasts with the more rolling, plangent and bittersweet appeal of Persist, but both share a blank-eyed and stomping purpose.
On the remixes, Christine Sealey ov Orphx pulverises Persist like a techno panel beater working on a dented tank, and LAIR guts and inverts the impact of Resist into numb drones and submerged rhythms.
more

Versatile EP from Matrixxman
Tending to the big room’s needs with the cavernous banger Initiation and the MDMA triggering arps of Horizon, whereas Access Granted dices with Regis-like late ‘90s techno loops, and Desert Planet feels out a slower, mystic sort of Red Planet vibe.
more

Killer tag team grime styles from Boylan & Slimzee
Weighing in the dense, dark halfstep matter of No Cure for the dungeon dwellers, neck-chopping mentasms in the roll cage of Replicants, and a choice bit of variation with the lush intro and rave-eyed breakbeat dipper, Reinforced.
more

Boddika picks up a brace of hypnotic techno slugs from Ribé for their solo début on Nonplus.
Rolling into place somewhere between Nonplus’s Eduardo De Calle releases, PAS-liek cosmic dynamics or Mike Parker-style hydraulics, the Harmonic Rain EP is most effective in the spuming cosmic glitter and wallop of the title cut, and definitely in the boiling electrical soup of Trying To Unpatch.
more

On Pulp Fusion, Kevin Gorman a.k.a. Adesse Versions returns to formative influences, filter house and disco, with three cuts ranging from chunky late ‘90s filter house to cowbell-led disco rudeness and a dead cheesy, ODB-sampling banger.
more

With the quietly nimble ambient-cumbia-avant-pop of Tar, the all too seldom-heard but always-fucking-great Lucrecia Dalt preps the ground for Anticlines, her highly promising début album for RVNG Intl
It should finally afford her music the wider attention it deserves, cos without PR, yr invisible?
more

Payment Security

We take the security of our website and of your transactions
extremely seriously. We encrypt all traffic involving personal
data with industry-standard SSL certificates and we are also
PCI compliant - meaning that we follow all current data security
standards and undergo weekly scans monitoring our security status.

Additionally, we do not store any card details at all, all
payments are handled using a system of Tokenisation which is
an industry-standard method of secure payment handling. When
you place an order with us payment is either handled via your
Paypal account or if you choose to pay by credit/debit card we
create a "Token" with your payment details which is stored by
the Bank payment gateway. When you return to make a purchase
it basically reactivates the "Token" so no details need to be
entered again and those details are not stored by us.

Estimated Shipping Dates

Estimated shipping dates are accurate to the best of our
knowledge, based on the latest stock information made available
to us from the supplier. Available items should ship to you within
the time-frame indicated. If there are any unforeseen issues with
availability we will notify you immediately.

Shipping FAQs

Free Shipping: We offer free postage on orders over
£50.00 to the UK sent via Royal Mail.*

*To qualify for free postage the order must be sent as one package.
Therefore, all items must be in stock or you should be happy to wait
until all items become available to ship so they can be sent as one
package. Downloads and Gift Vouchers do not count towards free
shipping. Please note that Pre-Orders do not count towards free
shipping as their release dates are liable to fluctuate.

Stock Status

If your order contains items that have different estimated
shipping dates (for example, ‘available to pre-order’, ‘in stock’,
‘available to ship in 1-3 days’) you will be given an option either
to wait for everything to become available to ship in one package,
or to ship each item as soon as it becomes available. Stock arrives
at the office throughout the day so the stock status of items on the
website can change several times a day.

Important Note: all items that are not currently displaying as
In Stock need to be ordered in from our suppliers and the estimated
shipping dates are only an indication of when we expect those items
to come into stock. If there are any unforeseen issues with
availability we will notify you immediately.

Premium Packaging

At checkout you are able to select a premium packaging option
for a fee of £1.50. We pack all of our orders using appropriate
packaging, however when you pick this option we use a wider
cruciform offering additional protection if you have a
particularly heavy-handed postman.

UK and International Shipping Options

We offer two services:

1. First Class Royal Mail - for UK and for International
orders: The package will be delivered by your national postal service.

Royal Mail sets limits on the weight of packages, so if the order
becomes too heavy to ship in one package the order will be split
into two or more packages. The packages will be marked accordingly,
for example, if an order has to be sent over two packages the packages
would be labelled ‘1 of 2’ and ‘2 of 2’.

2. Parcelforce tracked courier service:

This comprises a flat box fee for UK (and some European countries),
and a sliding scale based on weight for other countries. Parcelforce
is a Monday - Friday service. Packages sent via Parcelforce can be
tracked here:
http://www.parcelforce.com/track-trace

Parcelforce can only ship to PO boxes in certain countries,
details can be found once you have made your country selection
at checkout.

Once you have added items to your crate you can select your
country and choose either to send everything in one package or
to ship as soon as the items become available. At this point the
total given is a guide to the cost and more shipping configurations
are available once you have logged in and proceeded to checkout.
At the checkout you will still be able to add or take away items
from the crate and change/compare your shipping options.

Pre-orders are treated as separate packages to items that are
either in stock or available to order. If pre-orders share the
same release date then they can be ordered and shipped together.
However pre-order release dates are liable to change, if you have
ordered two pre-orders with the same date to ship together and
then one release date gets pushed back, we will ship the available
pre-order straight away and the second pre-order as soon as it
becomes available with no extra shipping charge.

If you choose to ship your order across more than one package you
can select the Royal Mail service for one package and Parcelforce
courier for the other.

Exceptions:

* if an individual item weighs more than 2kg and you are outside
of the UK the package must be sent via courier as Royal Mail sets
a 2kg limit on packages.

* Royal Mail covers postage all countries, however Parcelforce is
not available in every country.

Missing Packages

If an order does not arrive, we can issue a replacement package.
In the UK we consider a package to be missing after 15 working
days. Most international orders are considered missing after 25
working days with the exception of France, South America and Africa
- packages to these destinations are considered missing after 60
working days. Before we can issue a replacement, customers must
have checked with their local depot/sorting office to see if their
package is awaiting pick up. If we think there is an issue with
the shipping address, or that packages are being stolen in the
post, we reserve the right to refuse future orders to these
addresses.

Insurance

We automatically add an insurance supplement to orders over £30.
Orders between £30 - £49.99 are charged a 60p insurance supplement.
Orders over £50 are charged a £3 insurance supplement.

Returned Packages

If a package is returned to us because of an incomplete address,
or because it was not collected from a local depot, we will have to
charge you again in order to re-send it. We will get in touch with
you before any package is re-sent.

Delivery Times

The delivery times below are estimates. A lot depends on the
efficiency of your local post service.

Royal Mail:

UK (inc. Northern Ireland): 1 - 2 working days
Western Europe: 3 - 5 working days
Eastern Europe: 5 - 12 working days
Rest of World: 5 - 10 working days

Courier:

UK (inc. Northern Ireland): 1 working day except for highlands
of Scotland and parts of Scotland, please get in touch for
further information.

Western Europe: 2-3 working days for most countries but takes
longer shipping to Finland, Greece, Italy, Norway, Portugal and Sweden.

Eastern Europe: 3-6 working days for most countries but can take up
to 7 days for other countries, please get in touch for further
information.

Rest of World: 2-7 working days for most countries, please get in
touch for further information

Please note shipping times can vary within a country depending
on the area - for further information please get in touch.

Please note that the estimated shipping times above can be
affected by circumstances beyond our control such as bad
weather, delays at customs, busy times of year etc.

Contact Us

If you require further information or assistance then
please contact us.

Stock Status

Physical Products have different types of stock availability, for example:

In Stock (Ready to ship)
Pre-Order with estimated shipping dates
Available to Order (Estimated shipping between 1-3 working days)
Available to Order (Estimated shipping between 3-7 working days)
Available to Order (Estimated shipping between 7-14 working days)

If your order contains items that have different estimated shipping
dates you will be given an option either to wait for everything to
become available to ship in one package, or to ship each item as soon
as it becomes available. Stock arrives at the office throughout the
day so the stock status of items on the website can change several
times a day.

Important Note: all items that are not currently displaying as In Stock
need to be ordered in from our suppliers and the estimated shipping
dates are only an indication of when we expect those items to come
into stock. If there are any unforeseen issues with availability we
will notify you immediately.

Insurance

Premium Packaging

At checkout you are able to select a
premium packaging
option for a fee of £1.50. We pack all of our orders
using appropriate packaging, however when you pick this
option we use a wider cruciform offering additional
protection if you have a particularly heavy-handed postman.

CVV code

Terms & Conditions

TERMS & CONDITIONS OF WEBSITE USE AND SUPPLY

PLEASE READ THESE TERMS AND CONDITIONS CAREFULLY BEFORE USING THIS SITE

TERMS OF WEBSITE USE

This terms of use (together with the documents referred to in it) tells you the terms of use on which you may make use of our website http://boomkat.com/ (our site), whether as a guest or a registered user. Use of our site includes but is not limited to accessing, browsing , purchasing from or registering to use our site.

Please read these terms of use carefully before you start to use our site, as these will apply to your use of our site. We recommend that you print a copy of this for future reference.

By using our site, you confirm that you accept these terms of use and that you agree to comply with them.

If you do not agree to these terms of use, please do not use our site.

OTHER APPLICABLE TERMS

These terms of use refer to the following additional terms, which also apply to your use of our site:

Our Privacy Policy (www.boomkat.com/privacy), which sets out the terms on which we process any personal data we collect from you, or that you provide to us. By using our site, you consent to such processing and you warrant that all data provided by you is accurate.

Our Cookie Policy (www.boomkat.com/privacy) which sets out information about the use of cookies on our site.

If you purchase goods or non-physical copies of recordings from our site, our Terms and Conditions of Supply (see below) will apply to the sales.

INFORMATION ABOUT US

Boomkat.com is a site operated by Boomkat Limited ("We", “Us”, “Our”). We are registered in England and Wales under company number 5725006. Both our registered office address and trading address is at 2nd Floor Swan Building, 20 Swan Street, Manchester, M4 5JM. Our VAT number is GB 693 0821 25, and for Boomkat Digital Limited is GB 884 6350 90

We are a limited company.

CHANGES TO THESE TERMS

We may revise these terms of use at any time by amending this page.

Please check this page from time to time to take notice of any changes we made, as they are binding on you.

CHANGES TO OUR SITE

We may update our site from time to time, and may change the content at any time. However, please note that any of the content on our site may be out of date at any given time, and we are under no obligation to update it.

We do not guarantee that our site, or any content on it, will be free from errors or omissions.

ACCESSING OUR SITE

Our site is made available free of charge.

We do not guarantee that our site, or any content on it, will always be available or be uninterrupted.

Access to our site is permitted on a temporary basis. We may suspend, withdraw, discontinue or change all or any part of our site without notice. We will not be liable to you if for any reason our site is unavailable at any time or for any period.

You are responsible for making all arrangements necessary for you to have access to our site.

You are also responsible for ensuring that all persons who access our site through your internet connection are aware of these terms of use and other applicable terms and conditions, and that they comply with them.

REGISTRATION

When purchasing goods from Us or using the Service which is provided by Boomkat Digital Limited (“Digital”) you will be given the option to register by providing us with certain information including a member (user) name, a password and a valid email address ("Registration Data"). If you take up this option you agree to provide accurate Registration Data and to update your Registration Data as necessary to keep it accurate. We and Digital will keep and use your Registration Data in accordance with our Privacy Policy (www.boomkat.com/privacy) which forms part of these Conditions. You agree that you will not allow others to use your username, password and/or account and you are solely responsible for maintaining the confidentiality and security of your account. You agree to notify Us at contact@boomkat.com immediately of any unauthorised use of your password and/or account. Neither Us nor Digital shall be responsible for any losses arising out of the unauthorised use of your Registration Data and/or account and you agree to indemnify and hold harmless Us, Digital, their officers, partners, parents, subsidiaries, agents, affiliates and/or licensors, as applicable, for any improper, unauthorised or illegal uses of the same.

We have the right to disable any user identification code or password, whether chosen by you or allocated by us, at any time, if in our reasonable opinion you have failed to comply with any of the provisions of these terms of use.

INTELLECTUAL PROPERTY RIGHTS

We are the owner or the licensee of all intellectual property rights in our site, and in the material published on it (with the exception of those relating to the Service which are the property of Digital). Those works are protected by copyright laws and treaties around the world. All such rights are reserved.

You may print off one copy, and may download extracts, of any page(s) from our site for your personal use and you may draw the attention of others within your organisation to content posted on our site.

You must not modify the paper or digital copies of any materials you have printed off or downloaded in any way, and you must not use any illustrations, photographs, video or audio sequences or any graphics separately from any accompanying text.

Our status (and that of any identified contributors) as the authors of content on our site must always be acknowledged.

You must not use any part of the content on our site for commercial purposes without obtaining a licence to do so from us or our licensors.

If you print off, copy or download any part of our site in breach of these terms of use, your right to use our site will cease immediately and you must, at our option, return or destroy any copies of the materials you have made.

The Service may be protected under patent law and may be the subject of issued patents and/or pending patent applications.

Non-physical copies of recordings may not be reproduced, duplicated, copied, sold, broadcast, downloaded, transmitted, adapted or otherwise exploited for any commercial purpose without the express prior written consent of Digital.

NO RELIANCE ON INFORMATION

The content on our site is provided for general information only. It is not intended to amount to advice on which you should rely. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site.

Although we make reasonable efforts to update the information on our site, we make no representations, warranties or guarantees, whether express or implied, that the content on our site is accurate, complete or up-to-date.

LIMITATION OF OUR LIABILITY

Nothing in these terms of use excludes or limits our liability for death or personal injury arising from our negligence, or our fraud or fraudulent misrepresentation, or any other liability that cannot be excluded or limited by English law.

To the extent permitted by law, we exclude all conditions, warranties, representations or other terms which may apply to our site or any content on it, whether express or implied.

We will not be liable to any user for any loss or damage, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, even if foreseeable, arising under or in connection with:

use of, or inability to use, our site; or

use of or reliance on any content displayed on our site.

If you are a business user, please note that in particular, we will not be liable for:

loss of profits, sales, business, or revenue;

business interruption;

loss of anticipated savings;

loss of business opportunity, goodwill or reputation; or

any indirect or consequential loss or damage.

If you are a consumer user, please note that we only provide our site for domestic and private use. You agree not to use our site for any commercial or business purposes, and we have no liability to you for any loss of profit, loss of business, business interruption, or loss of business opportunity.

We will not be liable for any loss or damage caused by a virus, distributed denial-of-service attack, or other technologically harmful material that may infect your computer equipment, computer programs, data or other proprietary material due to your use of our site or to your downloading of any content on it, or on any website linked to it.

Different limitations and exclusions of liability will apply to liability arising as a result of the supply of any goods by use to you, which will be set out in our Terms and Conditions of Supply (set out below).
VIRUSES

We do not guarantee that our site will be secure or free from bugs or viruses.

You are responsible for configuring your information technology, computer programmes and platform in order to access our site. You should use your own virus protection software.

You must not misuse our site by knowingly introducing viruses, trojans, worms, logic bombs or other material which is malicious or technologically harmful. You must not attempt to gain unauthorised access to our site, the server on which our site is stored or any server, computer or database connected to our site. You must not attack our site via a denial-of-service attack or a distributed denial-of service attack. By breaching this provision, you would commit a criminal offence under the Computer Misuse Act 1990. We will report any such breach to the relevant law enforcement authorities and we will co-operate with those authorities by disclosing your identity to them. In the event of such a breach, your right to use our site will cease immediately.

If you wish to make any use of content on our site other than that set out above, please contact us at contact@boomkat.com

THIRD PARTY LINKS AND RESOURCES IN OUR SITE

Our site may present links to third party websites not owned or operated by Us or Digital. These links are provided for your information only.

Neither We nor Digital are responsible for the availability of these sites or their contents. We have no control over the contents of those sites or resources and You agree that neither We nor Digital are responsible nor liable, directly or indirectly, for any damage or loss caused or alleged to be caused by or in connection with your use of or reliance on any content of any such site or goods or services available through any such site.

TRADE MARKS

"BOOMKAT" is a Community Trade Mark

CONTACT US

To contact us, please email contact@boomkat.com

TERMS AND CONDITIONS OF SUPPLY

1. ACCEPTANCE OF TERMS AND CONDITIONS

By placing an order on our site you accept these terms and conditions ("the Conditions").

Each of Us and Digital (as the case may be) reserve the right to make changes to the Conditions relevant to them at any time and you will be subject to the relevant Conditions as published on the Website at the time you place your order.

For the avoidance of doubt in respect of Digital the Conditions applicable below constitute a legal contract between you and Digital governing your use of Digital's online music download sales service ("the Service”).

PROVISIONS APPLICABLE TO SALES OF PHYSICAL GOODS BY US

2. CONTRACT

2.1 Our shopping pages will guide you through the steps you need to take to place an order with us. Our order process allows you to check and amend any errors before submitting your order to us. Please take the time to read and check your order at each page of the order process.

2.2 After you place an order, you will receive an e-mail from us acknowledging that we have received your order. However, please note that this does not mean that your order has been accepted. Our acceptance of your order will take place as described in clause 2.3

2.3 We will confirm our acceptance to you by sending you an e-mail [that confirms that the goods you have ordered (“the Goods”) have been dispatched. The Contract between us will only be formed when we send you the Dispatch Confirmation.

2.4 If we are unable to supply you with the Goods, for example because the Goods are not in stock or no longer available or because we cannot meet your requested delivery date or because of an error in the price on our site as referred to in clause 3, we will inform you of this by e-mail and we will not process your order. If you have already paid for the Goods, we will refund you the full amount including any delivery costs charged as soon as possible.

3. PRICING & DELIVERY CHARGES

3.1 The prices of goods will be as quoted on our site at the time you submit your order. We use our best efforts to ensure that the prices of goods are correct at the time when the relevant information was entered onto the system. However please see clause 3.5 for what happens if we discover an error in the price of goods.

3.2 Prices for our goods may change from time to time, but changes will not affect any order you have already placed.

3.3 The price of goods includes VAT (where applicable) at the applicable current rate chargeable in the UK for the time being.

3.4 The price of goods does not include delivery charges. Our delivery charges are as advised to you during the check-out process, before you confirm your order. To check relevant delivery charges and options please add items to your crate, choose the shipping destination and delivery service you would like to use and a shipping cost will be displayed.

3.5 Our site contains a large number of goods. It is always possible that, despite our best efforts, some of the goods on our site may be incorrectly priced. If we discover an error in the price of the Goods we will contact you to inform you of this error and we will give you the option of continuing to purchase the Goods at the correct price or cancelling your order. We will not process your order until we have your instructions. If we are unable to contact you using the contact details you provided during the order process, we will treat the order as cancelled and notify you in writing. Please note that if the pricing error is obvious and unmistakeable and could have reasonably been recognised by you as a mispricing, we do not have to provide the Goods to you at the incorrect (lower) price.

4. AVAILABILITY

All orders are subject to availability.

5. YOUR RIGHT TO CANCEL THE CONTRACT

5.1 You may cancel your contract with us for goods you order at any time up to the end of the seventh working day from the date you receive the ordered goods. You do not need to give us any reason for cancelling your contract nor will you have to pay any penalty.

5.2 You cannot cancel your contract if the goods you have ordered are newspapers or magazines or if you have taken any audio or video recording or computer software out of the sealed package in which it was delivered to you

5.3 To cancel your contract you must notify us in writing

5.4 If you have received the goods before you cancel your contract then unless, under clause 5.2 you do not have a right to cancel, you must send the goods back to our contact address at your own cost and risk.

5.5 If you cancel your contract but we have already processed the goods for delivery you must not unpack the goods when they are received by you and you must send the goods back to us at our contact address at your own cost and risk as soon as possible.

5.6 On receipt of the returned goods we will refund you the amount charged for the goods in question (excluding delivery charges) within 30 days

6. OUR RIGHT TO CANCEL THE CONTRACT

6.1 We reserve the right to cancel the contract between us if:

6.1.1 we have insufficient stock to deliver the goods you have ordered

6.1.2 we do not deliver to your area; Or

6.1.3 one or more of the goods you ordered was listed at an incorrect price due to a typographical error or an error in the pricing information received by us from our suppliers

6.2 If we cancel your contract we will notify you by email and will credit to your account any sum deducted by us from your credit card or paypal as soon as possible but in any event within 30 days of your order. We will not be obliged to offer any additional compensation for disappointment suffered.

7 DELIVERY OF GOODS TO YOU

7.1 We will deliver the goods ordered by you to the address you give us for delivery at the time you make your order.

7.2 Delivery will be made as soon as possible after your order is accepted

7.3 You will become the owner of the goods you have ordered when they have been delivered to you. Once goods have been delivered to you they will be held at your own risk and we will not be liable for their loss or destruction.

8. LIABILITY

8.1 If the goods we deliver are not what you ordered or are damaged or defective or the delivery is of an incorrect quantity, we shall have no liability to you unless you notify us in writing at our contact address of the problem within 10 working days of the delivery of the goods in question.

8.2 If you do not receive the goods ordered within 30 days of the date of the Dispatch Confirmation we shall have no liability to you unless you notify us in writing at our contact address. Please do this within 2 weeks after this 30 day period expires.

8.3 If you notify a problem to us under clauses 8.1 or 8.2 above, our only obligation will be, at your option:

1. to make good any shortage or non-delivery;

2. to replace or repair any goods that are damaged or defective; or

3. to refund to you the amount paid by you for the goods in question in whatever way we choose.

8.4 Save as precluded by law, we will not be liable to you for any indirect or consequential loss, damage or expenses (including loss of profits, business or goodwill) howsoever arising out of any problem you notify to us under this condition and we shall have no liability to pay any money to you by way of compensation other than to refund to you the amount paid by you for the goods in question under clause 8.3.3 above.

8.5 You must observe and comply with all applicable regulations and legislation, including obtaining all necessary customs, import or other permits to purchase goods from our site. The importation or exportation of certain of our goods to you may be prohibited by certain national laws. We make no representation and accept no liability in respect of the export or import of the goods you purchase.

8.6 Notwithstanding the foregoing, nothing in these terms and conditions is intended to limit any rights you might have as a consumer under applicable local law or other statutory rights that may not be excluded nor in any way to exclude or limit our liability to you for any death or personal injury resulting from our negligence.

9. DUTIES AND TAXES

If you order goods for delivery overseas from our site you will be responsible for any import duties and taxes.

PROVISIONS APPLICABLE TO THE SERVICE AS OPERATED BY DIGITAL

11. THE SERVICE

(a) The Service allows you to listen to Clips (as defined below) and buy non-physical digital sound recordings, artwork and information relating to such sound recordings, and other content (collectively, "Music Content").

12. MUSIC CONTENT

(a) RIGHTS GRANTED: Upon payment for the Music Content, Digital grant you a non-exclusive, non-transferable right to use the Music Content only for your personal, non-commercial, entertainment use subject to this agreement.

(b) RESTRICTIONS TO RIGHTS GRANTED: The Music Content is owned by Digital, its business partners, affiliates and/or licensors, as applicable. You must comply with all applicable copyright and other laws in your use of the Music Content. Except as set out in clause 11 (a) above you may not or allow others to redistribute, transmit, assign, sell, broadcast, rent, share, lend, modify, adapt, edit, sub-licence or otherwise transfer or use the Music Content. Digital does not grant you any synchronisation, public performance, promotional use, commercial sale, re-sale, reproduction or distribution rights for the Music Content. You agree to advise Digital promptly of any such unauthorised use(s).

13. USE OF THE SERVICE:

(a ) USE OF MUSIC CONTENT: You agree that the content rights holders that license their musical or other content to Digital for use in the Service are intended third-party beneficiaries under these Conditions with the right to enforce the provisions that directly concern their content. You understand that your use of the Music Content is subject to the Usage Rules discussed below.

(b) SOFTWARE: All software made available by Digital on or through the Service is protected by intellectual property laws and your use of it is governed by these conditions as well as any applicable end-user licence agreements.

(c) USAGE RULES: Your access to and/or use of any Music Content will be limited by the rules assigned to the Music Content by Digital ("Usage Rules") and described in this section. You may not attempt (or support others' attempts) to circumvent, reverse engineer, decrypt, or otherwise alter or interfere with any Usage Rules or Music Content. Digital reserves the right to modify the Usage Rules at any time and your continued use of the Service after each such modification shall be deemed acceptance of any such modification.

A "Clip" is a portion of a track or promotional music video that you can play (and, if applicable, view) directly from and while you are logged on to the Service on a promotional basis at no cost to you. You may play as many Clips as you like.

You may not attempt (or support others' attempts) to capture, copy, or download a Clip.

(d) PRODUCT AVAILABILITY: Technical problems or expiry of Digital's right to make certain Music Content available may at times delay or prevent delivery of purchased Music Content to you. Receipt of your order or request does not guarantee that Digital can supply the selected products to you. All of the Music Content featured as part of the Service is subject to availability. Your sole remedy with respect to content or purchased Music Content not delivered will be a refund of the price paid for such Music Content

(e) RESTRICTIONS ON USE: You may not use the Service to transmit, display, perform or otherwise make available any messages, content or materials (i) that are illegal, obscene, pornographic, inflammatory, threatening, of a "spamming" nature, defamatory, or invasive of privacy; (ii) that constitute political campaigning or commercial solicitation or that contain software viruses or other computer code designed to interfere with the functionality of any computer systems; or (iii) that infringe third party rights or harm minors in any way. Digital will fully co-operate with any appropriate authority or Court order requesting or directing Digital to disclose the identity of anyone posting any such information or materials. You may not interfere with or disrupt the Service or any networks connected to or by the Service. In addition, you may not use a false email address or otherwise mislead Digital or other members as to your identity or to the origin of a message or content. By posting messages, inputting data, or engaging in any other form of communication through the Service, you agree that Digital may copy, sublicense, adapt, transmit, publicly perform or display any such content to provide and/or promote the Service subject always to applicable legal restrictions, and/or to respond to any legal requirement, claim or threat. If Digital's use of such content exploits any proprietary rights you may have in such material, you agree that Digital has an unrestricted, royalty-free, non-exclusive and perpetual worldwide right to use such material as described above. You agree that any loss or damage of any kind that you incur as a result of the use of any messages, content or material that you upload, post, transmit, display or otherwise make available through your use of the Service is solely your responsibility.

(f) All rights not expressly granted are reserved to Digital and/or its licensors.

14. CHARGES / BILLING

(a) AGREEMENT TO PAY: You agree to pay for all Music Content that you purchase through the Service and Digital may charge your debit, credit card or Paypal account for any such payment(s). Digital may, in its discretion, post charges to your credit card individually or may aggregate your charges with other purchases you make on the Service. You are responsible for keeping your Digital account secure and confidential and you will be responsible for any charges that are incurred by any person through your account. All charges will be billed to the payment method you designate when you first make a purchase or incur a charge. All prices include VAT (where applicable) at the current rates chargeable in the UK for the time being

(b) RIGHT TO CHANGE PRICES: All prices for products within the Service are subject to change by Digital at any time. While Digital tries to ensure that all prices on our site are accurate, errors may occur. If Digital discovers an error in the price of any goods or services you have ordered it will give you the option of reconfirming your order at the correct price or cancelling it. If Digital is unable to contact you it will treat the order as cancelled.

(c) ELECTRONIC CONTRACTS: You agree that any submissions you make for electronic purchases constitute your intent and agreement to be bound by the terms of and to pay for such purchases. To the extent that such electronic purchases are offered to you by a third party, you acknowledge that Digital shall not be responsible or liable to you for the products or services purchased.

(d) CANCELLATION: You cannot cancel your purchase of Digital Downloads once delivery has started. By placing an order to purchase Digital Downloads using the Service you acknowledge and agree to this.

15. EXPLICIT CONTENT

Digital shall have no liability or responsibility to you for any content or materials, including Stickered Tracks, that may be available in connection with the Service that you might find offensive, indecent or objectionable.

16. INFRINGEMENT OF INTELLECTUAL PROPERTY RIGHTS

If Digital receives a notice alleging that you have engaged in behaviour that infringes Digital's or any other party's intellectual property rights or reasonably suspects the same, Digital may suspend or terminate your account without notice to you. If Digital suspends or terminates your account under this paragraph, it shall have no liability or responsibility to you, including for any amounts that you have previously paid.

17. PROMOTIONS AND ADVERTISING

Digital and/or its business partners may present advertisements or promotional materials on or through the Service. Your participation in any promotional event is subject to the terms and conditions associated with that event. Your dealings with, or participation in promotions by, any third party advertisers on or through the Service are solely between you and such third party. You agree that Digital shall not be responsible or liable for any loss or damage of any kind incurred by you as the result of any such dealings or as the result of the presence of such third parties on the Service.

18. MODIFICATIONS TO THE SERVICE

Digital reserves the right at any time and from time to time to modify or discontinue, temporarily or permanently, the Service (or any part thereof) with or without notice to you, without any liability to you or to any third party.

19. REMEDIES

You agree that any unauthorised use of the Service, the Music Content or any related software or materials may result in irreparable injury to Digital and/or its affiliates or licensors for which money damages would be inadequate, and in such event Digital, its affiliates and/or licensors, as applicable, shall have the right, in addition to other remedies available at law and in equity, to seek immediate injunctive relief against you. Nothing contained in these Conditions shall be construed to limit the remedies available pursuant to statutory or other legal authority that Digital, its affiliates and/or licensors may have.

20. DISCLAIMERS

You understand and agree that your use of the Service and Music Content is at your own sole risk. The Service and Music Content (the "Products") are provided "as is" and without warranty by Digital or its agents, employees, parents, subsidiaries, affiliates, licensors, business partners and/or suppliers (the "Digital Entities"), as applicable, and, to the maximum extent allowed by applicable law, the Digital Entities expressly disclaim all warranties, express or implied including, but not limited to, implied warranties of merchantability and fitness for a particular purpose and any warranty of non-infringement. The Digital Entities do not warrant, guarantee, or make any representations regarding the use or the results of the use of the Products with respect to performance, accuracy, reliability, security capability or otherwise. You will not hold any Digital Entity responsible for any damages that result from you accessing the Service or using the Products including, but not limited to, damage to any computer, software or systems or portable devices you use to access the same. No oral or written information or advice given by any person shall create a warranty in any way whatsoever relating to any of the Digital Entities.

Digital makes no warranty that any particular CD burner or portable device will be compatible with the software used to download Music Content or other material or that any CD burned using the software to download the Music Content or other material will function in all CD players. It is your sole responsibility to ensure that your system(s) will function correctly.

Under no circumstances shall any Digital Entity be liable for any unauthorised use of the Service, Music Content or any other materials.

Under no circumstances shall any Digital Entity be liable to you for any consequential, incidental or special damages (including damages for loss of business profits, business interruption, loss of business information, and the like) arising out of the use of or inability to use the Products, even if the Digital Entity has been advised of the possibility of such damages.

GENERAL PROVISONS APPLICABLE TO BOTH BOOMKAT & DIGITAL

21. CHILDREN

If you are under 18 you may only purchase goods from Us or make use of the Service with the involvement of a parent or guardian.

22. CREDIT CARD SECURITY

We and Digital both place great importance on keeping secure the credit card details you provide and to that end We and Digital use security systems which comply with the Payment Card Industry Data Security Standard, a worldwide standard for data protection across the payment industry.

23. FORCE MAJEURE

We shall have no liability to you for any failure to deliver any items which you have ordered or any delay in doing so or for any damage or defect to goods delivered that is caused by any event or circumstance beyond our reasonable control including, without limitation, strikes, lock-outs and other industrial disputes, breakdown of systems or network access, flood, fire, explosion or accident.

24. LIMITATION OF LIABILITY

In the event that either We or Digital are held to be in breach of the Conditions the extent of any such liability shall be limited to loss that would have been reasonably foreseeable by you and Us or Digital (as the case may be) at the time the contract between you and Us and/or Digital (as the case may be) was formed (as determined in accordance with the foregoing provisions) and in any event any liability of Us or Digital (as the case may be) shall be limited to the value of the goods ordered by you in the relevant transaction. Nothing contained in the Conditions shall be deemed however to limit Our or Digital's (as the case may be) liability for death or personal injury arising as a result of negligence on the part of Boomkat or Digital (as the case may be). To the extent that any disclaimer or limitation on damages or liability in these Conditions is prohibited or limited by applicable law, then Boomkat and Digital (and if applicable the Digital Entities) shall be entitled to the maximum disclaimers and/or limitations on damages and liability available at law or in equity and in no event shall such damages or liability exceed £100.00.

25. THIRD PARTY RIGHTS

Except for our affiliates, directors, employees or representatives, a person who is not a party to this agreement has no right under the United Kingdom Contracts (Rights of Third Parties) Act 1999 to enforce any term of this agreement but this does not affect any right or remedy of a third party that exists or is available apart from that Act.

26. LAW AND LEGAL NOTICES

These Conditions and any other terms or documents referred to herein represent your entire agreement with Us and Digital with respect to your use of the services offered by them respectively. If any part of the Conditions is held invalid or unenforceable, that portion shall be construed in a manner consistent with applicable law to reflect, as closely as possible, the original intentions of the parties, and the remaining portions shall remain in full force and effect.

The laws of England and Wales govern the Conditions and your use of the Service and the Tracks. You agree that the English Courts have jurisdiction over any claim or dispute whether with Us or with Digital or relating in any way to your account or your use of the Service or the Tracks.

Privacy

Boomkat are committed to protecting and respecting your privacy.
We do not send unsolicited emails to customers, and do not pass on
your private details to any third parties.

This policy (together with our terms of use: www.boomkat.com/terms)
and any other documents referred to on it sets out the basis on which
any personal data we collect from you, or that you provide to us,
will be processed by us. Please read the following carefully to
understand our views and practices regarding your personal data
and how we will treat it. By visiting boomkat.com you are accepting
and consenting to the practices described in this policy.

INFORMATION WE MAY COLLECT FROM YOU

We may collect and process the following data about you:

Information you give us. You may give us information about
you by filling in forms on our site http://boomkat.com or by
corresponding with us by phone, e-mail or otherwise. This
includes information you provide when you register to use our
site, subscribe to our service, search for a product, place an
order on our site, enter a competition, promotion or survey,
or when you report a problem with our site. The information
you give us may include your name, address, e-mail address
and phone number, financial and credit card information, or
any other personal description.

Information we collect about you. With regard to each of your
visits to our site we may automatically collect the following
information:

technical information, including the Internet protocol (IP)
address used to connect your computer to the Internet, your
login information, browser type and version, time zone setting,
browser plug-in types and versions, operating system and platform;

information about your visit, including the URL clickstream to,
through and from our site (including date and time); products
you viewed or searched for; page response times, download errors,
length of visits to certain pages, page interaction information
(such as scrolling, clicks, and mouse-overs), and methods used
to browse away from the page

COOKIES

Our website uses cookies to distinguish you from other users of our
website. This helps us to provide you with a good experience when
you browse our website and also allows us to improve our site. For
more information on the cookies we use and the purposes for which
we use them see our Cookie Policy further down the page.

USES MADE OF THE INFORMATION

We use information held about you in the following ways:

Information you give to us. We will use this information:

To process your orders

to carry out our obligations in providing you with the
information, products and services that you request from us;

to provide you with information about other goods and services we
offer that are similar to those that you have already purchased or
enquired about;

to provide you with information about goods or services we
feel may interest you.

to notify you about changes to our service;

to ensure that content from our site is presented in the most
effective manner for you and for your computer.

Information we collect about you. We will use this information:

to administer our site and for internal operations, including
troubleshooting, data analysis, testing, research and statistical
purposes;

to improve our site to ensure that content is presented in the
most effective manner for you and for your computer;

to allow you to participate in interactive features of our
service, when you choose to do so;

as part of our efforts to keep our site safe and secure;

to make suggestions and recommendations to you and other users
of our site about goods or services that may interest you or them.

DISCLOSURE OF YOUR INFORMATION

We may share your personal information with any member of our
group, which means our subsidiaries, our ultimate holding company
and its subsidiaries, as defined in section 1159 of the UK Companies
Act 2006.

We may disclose your personal information to third parties
If we are under a duty to disclose or share your personal data
in order to comply with any legal obligation, or in order to
enforce or apply our Terms of Website Use (www.boomkat.com/terms)
and other agreements; or to protect the rights, property, or safety
of Boomkat Limited, our customers, or others.

WHERE WE STORE YOUR PERSONAL DATA

The data that we collect from you may be transferred to, and stored
at, a destination outside the European Economic Area ("EEA"). It may
also be processed by staff operating outside the EEA who work for us
or for one of our suppliers. Such staff maybe engaged in, among other
things, the fulfilment of your order, the processing of your payment
details and the provision of support services. By submitting your
personal data, you agree to this transfer, storing or processing.
We will take all steps reasonably necessary to ensure that your
data is treated securely and in accordance with this privacy policy,
all information you provide to us is stored on our secure servers.

We take the security of our website and of your transactions
extremely seriously. We encrypt all traffic involving personal
data with industry-standard SSL certificates and we are also PCI
compliant - meaning that we follow all current data security
standards and undergo weekly scans monitoring our security status.

Additionally, we do not store any card details at all, all payments
are handled using a system of Tokenisation which is an
industry-standard method of secure payment handling. When you place
an order with us payment is either handled via your Paypal account
or if you choose to pay by credit/debit card we create a "Token"
with your payment details which is stored by the Bank payment gateway.
When you return to make a purchase it basically reactivates the
"Token" so no details need to be entered again and those details
are not stored by us.

Where we have given you (or where you have chosen) a password
which enables you to access certain parts of our site, you are
responsible for keeping this password confidential. We ask you
not to share a password with anyone.

Although we will always do our best to protect your personal data, we
cannot 100% guarantee the security of your data transmitted to our site
due to the nature of the internet. Any transmission is at your own risk,
but once we have received your information, we will always use strict
procedures and security protocols to try to ensure the safety of that
information.

CHANGES TO OUR PRIVACY POLICY

Any changes we may make to our privacy policy in the future will be
posted on this page. Please check back to see any updates or changes
to our privacy policy.

CONTACT

Questions, comments and requests regarding this privacy policy are
welcome and should be addressed to contact@boomkat.com.

COOKIE POLICY

Our website uses cookies to distinguish you from other users of our
website. This helps us to provide you with a good experience when
you browse our website and also allows us to improve our site. By
continuing to browse the site, you are agreeing to our use of cookies.